Creative collection Ceramicist Kirsten Perry loves raw beauty
THE PURITY OF RAW MATERIALS BRINGS GRACE AT EVERY TURN FOR MELBOURNE CERAMIC ARTIST KIRSTEN PERRY
In the calm but compact studio of Melbourne ceramicist Kirsten Perry, everything she touches comes to life. From a fanning clam shell perched proudly in one corner to a volcanic vessel oozing with golden liquid and a string of sea anemone-like critters, the space holds a cabinet of exotic oddities.
“I am attracted to flaws and vulnerabilities,” says the artist of the assorted shapes and silhouettes that are scattered throughout her studio. “The objects have an unusual beauty, what I imagine to be some sort of living organism from a planet far away.”
Kirsten’s eclectic creatures are a staple of Victoria’s artistic scene. In Melbourne, they sit in Mr Kitly, Craft Victoria, Pépite and Modern Times, as well as Geelong’s Boom Gallery. She is also represented by Michael Reid Clay in Sydney.
Striking the perfect balance of creative restraint, Kirsten captures the surprising fluidity of sculpture in her work. “I like to play with forms that strike an unexpected balance with either size, shape, texture or repetition,” she explains. “Sculptures can change when you view them at different angles, which encourages the viewer to build a relationship with the work.”
Kirsten came to ceramics later in her career. After studying industrial design, fine art and multimedia at Melbourne’s RMIT University, she moved to Japan, where her plans to work abroad were derailed by a life-altering discovery. “I found a lump in my neck that turned out to be lymphatic cancer, so I had to return home,” she says. “I was 25 and pretty much did not have any drive to do anything creative.”
Stuck on the back end of this serious health scare and in a deep creative slump, Kirsten slowly rekindled her love of creation. “I was searching for a non-toxic medium and started making ceramic jewellery,” she recalls. “From there, I taught myself ceramics.”
Today, working alongside her dog Fünf at her home studio in Melbourne’s north, Kirsten plays with a multitude of materials including clay, foam, paper, polystyrene and wax. “I’m attracted to materials and their qualities,” she says of her work. “Clay has the ability to mimic different materials through the mould-making process, while paper [which she uses for her prototypes] has the tensile strength to fold and hold with just a thin layer.” >
Best recognised for its crisp white vases, pleated vessels and rich charcoal sculptures, Kirsten’s work evokes a sense of play and whimsy, using texture to exaggerate imperfections. “I have never been interested in surfaces or forms that a machine could replicate, as it loses the mark of the maker,” she says.
Her creative process is deeply cathartic. “When
I’m creating, it feels like I am tapping into some subconscious healing,” she says. “It can sometimes be what keeps me up at night with a new, exciting idea – and it can be what helps me sleep at night when my mind needs soothing from worry and fear.”
Kirsten’s most sentimental work – a pleated, wide-mouthed bowl titled ‘Open To Divine’ – was well received for its unique beauty and technical challenge, and sold out online. “It represents opening up to the good in life,” she says. “I see the piece as quite beautiful. Previously I thought beauty was an obvious, mainstream choice. However, now I recognise that beauty can come in many forms and that I need it on a daily basis.”
Through her work and meticulous process, Kirsten knows that true beauty often hides in the unexpected crevices of life – and for those struggling to find it, space is an enabler. “I like to leave room in the process for mistakes and serendipity to take me to unexpected places,” she says. “Otherwise, life would be too boring.”
“I LIKE TO THINK THAT OTHER PEOPLE ARE CONNECTING TO AN INTERNAL BEAUTY OF THEIR OWN WHEN THEY NOTICE MY WORK” ~ KIRSTEN